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CARPENTER CENTER LECTURE:
Panel Discussion with artists from THE IMAGE IN QUESTION. WAR – MEDIA – ART
“How can wars of the present and the experience of war be adequately represented?”
Participants: Peggy Ahwesh, Kota Ezawa, Harun Farocki, William E. Jones,
Lamia Joreige, and Wael Shawky. Moderator: Antje Ehmann
Thursday, October 21, 6pm
followed by the opening celebration for the exhibition
with the artists and curators
Allan Sekula, War Without Bodies (detail), 1991/1996, 9 color photographs mounted on aluminum, 20 x 30 inches (framed dimensions, each), 2 copies of text booklet with illustrated covers, U.S. army field bed. Total dimensions variable. Edition 2/3. Courtesy of the artist and Christopher Grimes Gallery, CA.
This event is co-sponsored by the Carpenter Center for the Visual Arts and the Center for Middle Eastern Studies at Harvard University, with support from the Aga Khan Program at the Graduate School of Design, and Club Medina.
About the Moderator
ANTJE EHMANN
Born in 1968 in Gelsenkirchen / Germany, Ehmann is an author, curator and video artist. Her recent publications include, Harun Farocki. Against What? Against Whom?, ed. with Kodwo Eshun, (Walther Konig, Koln, 2009), Amos Gitai. News from Home, ed. with Anselm Franke and Katharina Fichtner (Walther Konig, Koln, 2006) and Geschichte des Dokumentarischen Films in Deutschland, Bd. 2, Weimarer Republik 1918-1933, with Klaus Kreimeier and Jeanpaul Goergen, (Reclam Philipp Jun., 2005). Her recent curatorial projects include Three Early Films, with Kodwo Eshun and Bart van der Heide at Cubitt, London, 2009; Harun Farocki. 22 films, with Stuart Comer and Kodwo Eshun, Tate Modern, London, 2009; and Cinema like never before, with Harun Farocki, Generali Foundation Vienna, 2006 and Akademie der Künste, Berlin, 2007. She organized The Image in Question: War - Media - Art for the Carpenter Center for the Visual Arts with Harun Farocki in 2010; an extended version of the show will travel to Mathildenhöhe, Darmstadt, Germany, from March 27—July 24, 2011, and Ryerson Photography Gallery and Research Center in Toronto in 2013. Her recent video installations include War tropes (with Harun Farocki, 2011), Loud and Clear (2009), and Feasting or Flying (with Harun Farocki, 2008). Ehmann lives in Berlin.
About the Participants
PEGGY AWESH
Born in Pittsburgh, PA, in 1954, Ahwesh received her BFA from Antioch College. Ahwesh makes experimental films and videos that explore gender and cultural identities, themes of ritual, sexual exploration, and death utilizing a wide variety of tools and methods including Super-8 and 16mm film, narrative and documentary styles, improvised performance and scripted dialogue, found footage, digital animation, and Pixelvision video. Retrospectives of her films have been held at the Whitney Museum of American Art (Girls Beware!, 1997); Anthology Film Archives, New York; the Yerba Buena Center for the Arts, San Francisco; Carpenter Center for the Visual Arts, Harvard University; Wexner Center for the Arts; and the Guggenheim Museum and Museum of Modern Art in New York among others. Her films have screened in several Whitney Biennials, the New York Film Festival, the Flaherty Film Seminar, the Centre Pompidou in Paris, and festivals in Berlin, London, Cairo, Toronto, Rotterdam, and Creteil, France, among others. Certain Women (co-directed with Bobby Abate) was an official selection at the Rotterdam International Film Festival and the opening night film at the New York Underground Film Festival in 2004. Martina’s Playhouse, The Deadman (co-directed with Keith Sanborn), Strange Weather, and Nocturne are in the Museum of Modern Art’s permanent collection. Ahwesh has received Jerome and Guggenheim Foundation fellowships, an Alpert Award in the Arts, and awards from the New York State Council on the Arts and Art Matters. She teaches in the Film & Electronic Arts Program at Bard College, and lives in New York.
KOTA EZAWA
Ezawa was born 1969 in Cologne, Germany, received his BFA from the San Francisco Art Institute, and his MFA from Stanford University. Ezawa re-presents iconic moments from the media, popular culture, and the history of photography in animated videos, slide projections, lightboxes, and prints. Ezawa meticulously recreates animated sequences using basic digital drawing and animation software; his source material includes the Zapruder 8mm film of the Kennedy assassination, the O.J. Simpson trial, and clips from the films Who’s Afraid of Virginia Wolf? and D.W. Griffith’s Birth of a Nation. His recent solo shows include Medley, Wexner Center for the Arts, 2009; Multiplex, Murray Guy, New York, 2008; Lennon Sontag Beuys, St. Louis Art Museum, 2008, and Matedero, Madrid, Spain, 2009. Group exhibitions include the San Francisco Museum of Modern Art, Smithsonian Museum of American Art, Berkeley Art Museum, the Metropolitan Museum of Art, as well as the 5th Seoul International Biennale of Media Art and the 2004 Shanghai Biennale. His recent publications include Odessa Staircase Redux, (ECU Press/JRP Ringier, 2010), and The History of Photography Remix, (Nazraeli Press, 2006). He received a Louis Comfort Tiffany Foundation Award in 2003. Ezawa lives and works in San Francisco.
HARUN FAROCKI
Farocki is an author, filmmaker and video artist. He was born in Nový Jičín (Neutitschein), in the then German-annexed part of Czechoslovakia, in 1944. He studied at the German Film and Television Academy (DFFB) in West Berlin from 1966 to 1968, and in 1968 he welcomed the birth of daughters Annabel Lee und Larissa Lu. Author and editor of the journal Filmkritik in Munich from 1974 to 1984, he co-authored (with Kaja Silverman) the book Speaking about Godard / Von Godard sprechen (NYU Press, 1998). Other recent publications include Rote Berta Geht Ohne Liebe Wandern, (Strzelecki Books, 2009); Kino wie noch nie / Cinema like never before, together with Antje Ehmann (Walther Konig Verlag, 2006) and Imprint / Nachdruck, (Sternberg Press, 2001). Farocki has directed over one hundred productions for television and the cinema including children’s television, documentary films, film essays, and narrative films, and participated in numerous group and solo exhibitions in museums and galleries. Recent solo shows include Harun Farocki, Kunsthaus Bregenz, 2010; Harun Farocki. Against What? Against Whom?, Raven Row, London, 2009; and Harun Farocki, Museum Ludwig, 2009. Recent films and installations include Deep Play in documenta 12 in 2007; Das Silber und das Kreuz (2010); umgießen (2010); and In Comparison (2009). He was a visiting professor at the University of California, Berkeley from 1993 to 1999. A guest professor at the Academy of Fine Arts in Vienna since 2004, he was appointed full professor in 2006. Farocki lives in Berlin.
WILLIAM E. JONES
Jones is an artist and filmmaker who grew up in Ohio and now lives and works in Los Angeles. He has made two feature-length experimental films, Massillon (1991) and Finished (1997); several short videos, including The Fall of Communism as Seen in Gay Pornography (1998); the feature length documentary Is It Really So Strange? (2004); and many video installations. His work has been shown at the Cinémathèque Française and Musée du Louvre, Paris; Witte de With Center for Contemporary Art and International Film Festival Rotterdam, The Netherlands; Kunsthalle Wien and Vienna International Film Festival; Sundance Film Festival; Museum of Contemporary Art, Los Angeles; the Museum of Modern Art, New York; and the Carnegie Museum of Art, Pittsburgh, PA. His films and videos were the subject of a retrospective at Tate Modern, London, in 2005, and at Anthology Film Archives, New York, in 2010. He was included in the 1993 and 2008 Biennial exhibitions at the Whitney Museum of American Art and his work was on view in the Nordic Pavilion at the 53rd Venice Biennale in 2009. Jones has published the following books: Is It Really So Strange? (2006), Tearoom (2008), and Selections from The Anatomy of Melancholy by Robert Burton (2008), Heliogabalus (2009) and "Killed": Rejected Images of the Farm Security Administration (2010). He is represented by David Kordansky Gallery in Los Angeles, CA.
LAMIA JOREIGE
Born in 1972 in Beirut, Lebanon, Joreige received her BFA in painting and film from the Rhode Island School of Design in 1995. She writes, directs and produces works ranging from short videos to multimedia installations and documentaries, using archival documents and fictitious elements to reflect on the relationship between individual stories and collective histories, highlighting the gaps in history and memory and exploring the impossibility of accessing a complete narrative. Joreige’s practice encourages active participation from the viewer, adding another level to the notion of subjective histories. She has had solo exhibitions at the Galerie Tanit, Munich, 2009 & Espace Kettaneh Kunigk, Beirut, 2007; the Alexandria Contemporary Arts Forum 2006 & Townhouse Gallery, Egypt, 2005; Nicéphore Niépce Museum, 2003 & Galerie Nikki Diana Marquardt, France, 2000; and Galerie Janine Rubeiz, Beirut, from 1999 to 2004. She has screened her work at numerous film festivals and venues including the Images Festival, Toronto; Harvard University; Columbia University; Rencontres Internationales Paris/Berlin; La Cinémathèque française, Paris; Rotterdam International Film Festival; Festival International du Cinéma Méditerranéen de Montpellier; and La Caixa Foundation, Barcelona. Group exhibitions include The Storyteller, Parsons The New School, New York; 2009 Asian Art Biennial, Taiwan; Sharjah Biennial 09, UAE; Zones of Conflicts, Pratt Manhattan Galerie, New York; Archive Fever, International Center of photography, New York; The 4th Goteborg Biennial; 52 Venice Biennal (in Foreword, the Lebanese Pavilion); the 2nd Seville Biennale, Spain; Rumor as Media, Akbank Sanat, Istanbul; Coding Decoding, Museet for Samtidskunst, Roskilde, Denmark; Out of Beirut, Modern Art Oxford, UK; Insa Art Space, Seoul, Korea; Present/Absence, Galerie Tanit, Munich; Laughter at the London International Festival of Theater; Possible Narratives in VideoBrasil, Sao Paulo; and DisOrientation, House of World Cultures, Berlin. Her publications include Time and the Other (Alarm Editions, Beirut, 2004) and Ici et peut-être ailleurs (H.K.W., Berlin, 2003). Joreige is a co-founder and co-director of Beirut Art Center, a unique non-profit space dedicated to contemporary art in Lebanon. She lives and works in Beirut.
WAEL SHAWKY
Shawky lives and works in Alexandria. Shawky completed his BFA at the University of Alexandria in 1994, followed by an MFA at the University of Pennsylvania in 2000. He has received many awards for his work, including an International Commissioning Grant; a Lower Manhattan Cultural Council in 2005; the International Award of the Islamic World Arts Initiative, Arts International in 2004; an American Center Foundation Grant in 2004; and an Honorary Award, Rita Longa International Symposium, Bayamo, Cuba, 2001. In 1996 he was awarded the Grand Nile Prize in the 6th Cairo Biennial and in 2009 the Grand Prize for the 25th Alexandria Biennale. Shawky has participated in many workshops and projects in Egypt, Lebanon, Italy, Greece, the Netherlands, Switzerland, Poland, Belgium, Germany, the UK, Turkey, Thailand, Cuba and the USA. He recently took part in a residency programs in GCC, Gyeonggi, Korea in 2009, Santa Fe, New Mexico in 2008, Codra, Thessalonica, 2006 and in Istanbul in 2005 (based at Platform Garanti of Contemporary Art). His solo exhibitions include Clean History, 2009 and Al Aqsa Park, 2008 both at the Townhouse Gallery, Cairo; Larvae Channel 2, Project Gentili, Berlin, 2009; Telematch Sadat, Telematch Market, Al Aqsa Park, at KVS, Brussels, 2007; The Forty Days Road, Wet Culture – Dry Culture, Galeria Sztuki Wspolczesnej, Krakow, 2007; The Green Land Circus, Townhouse Gallery, Cairo, 2005; Losing identity, Ludwigsburg Kunstverein, Ludwigsburg, Germany, 2005; Sidi El Asphalt's Moulid, 2001, and Asphalt Quarter (representation), 2003, at Townhouse Gallery of Contemporary Art, Cairo. His group exhibitions include In and out of context, New Museum of Contemporary Art, New York, 2010; Mart Museum Collection, Rovereto, 2010; 5th Forum Beirut, 2010; Medium Religion, The Musée d'art Contemporain de Montréal, 2010; Translation, Queens Museum of Art, New York, 2009; Rites of Passage, Schunck-Glaspaleis, Heerlen, 2009; 3rd Riwaq Biennale, Ramallah, 2009; 3rd Marrakech Biennale, 2009; Disorientation II, Manarat Al Saadiyat, Abu Dhabi, 2009; The Jerusalem Show, Al-ma´mal Foundation for Contemporary Art, Jerusalem, 2009; 7th Santa Fe Biennale, 2008; SCENES DU SUD II, Musée d'art contemporain de Nîmes, 2008; Medium Religion, ZKM, Karlsruhe, 2008; 5th Meeting Points, 2007; 2nd Moscow Biennale, 2007; Fremd bin ich eingezoge, Kunsthalle Fridericianum, Kassel, 2007; Choosing my religion, Kunstmuseum Thun, Switzerland, 2006; October Art Salon Belgrade, Belgrade, 2006; No Man's Land (Part II), Hellenic American Union, Athens, 2006; the Istanbul Biennial, 2005; ADAM, Smart Project Space, Amsterdam, 2005; Urban Realities, Focus Istanbul, Martin-Gropius-Bau, Berlin, 2005; Normalization, Platform Granti of Contemporary Art, Istanbul, 2005; Mediterraneans, The Museum of Modern Art Rome (MACRO), Rome, 2004; and the 50th Venice Biennial, 2003. His work is held in the collections of the Tate Modern, London; Macro Museum, Rome; Darat Al Funun, Amman; Mart Museum Collection, Terento; Mudam, Luxembourg Museum of Modern Art; Galeria Sztuki Wspolczesnej, Bunkier Sztukim, Krakow; and APT Dubai.